the drawing began with a red paint marker, used to lay in flat shadow shapes. From there it was just a matter of building form with several layers of hatching, finding a head as i went along. The quote at the bottom is from my friend/fellow artist Red, who is painter/writer in San Francisco. I am reading his book "my continuing Journey into Artistic, Spiritual and Revolutionary Thoughts". It reads like excerpts from the most personal diary. Honesty, expression, and vulnerability. My cup of tea. Enjoy and yes, this is another free piece. So first come, first serve... just leave a comment on this blog that you want the piece and you shall recieve it if you are the first. Have a good week all fellow humans, and non-humans... (paint marker, ink on paper, 5.5"x 8.5")
so here is a little bit of the process. Anyone that's taken a drawing class (still life, figure, etc) will be familiar with this. There is nothing special about it, but being empathetic and having been new to it all at one time, I am more than happy to share what I have learned up to this point. There are a mulititude of ways, and in this one I begin with a big shape. This part alone, one can spend hours on depending on what you're drawing. (proportions) I have worked with the human figure much, so laying down a big shape like this is based on familiarity of repetiously doing it so much. From there I set in the shadow shapes. So it is going from the outside, to the inside. Again, these shapes are also based on familiarity. Using a live model, or a photo the process would be the same. Obviously the only difference would be that there are shapes to be analyzed/transferred from a source rather than entirely imagined. Thirdly, I set the conrast. Light and shadow, by blocking in the shadows with an even tone. Make it dark enough (not too dark) so that the drawing looks graphic. Dark and light. From here it is time to build form. I can do this in either the lightside, or the shadows. I prefer the core shadw area, whcih is the border where shadow becomes light, and vice versa. Since this is a transition of shadow/light, it should be soft. Whereas the shadow from the object itself, creates a cast (such as a person's shadow on the ground). Cast shadows have a harder edge. I won't go to in depth with light/shadow, but it is a science in itself and important for the purpose of creating form. On the lightside, I look for highlights and shape these with the midtone. Just like the shadow block in, i make a light midtone leaving the white of the paper for the highlight. I feel the hard part are the midtones, and it is important to slow down when creating form on the lightside relating to this. This is because you don't want to go as dark as the shadow side with midtones, you need to go dark enough to create higlights, and all the subtleties of the form lay in the midtone. It is easy to create too much form here. So compare the drawing in this blog with the previous and love this life comrades!! for the love of drawing
recently discovered audio books. This sketch made while listening to Vonnegut's "Slaughter House 5", narrated by Ethan Hawke (haaa). Thoght about to attempt and draw as a response to what i was hearing in passages, but didn't want to have boundaries. again, these are just created purely for the joy of drawing. no meaning attached. I started with a big shape and basically filled it in. Just making decisions along the way with no real foresight. For those interested more on the technical side of the process, I have attached a follow up blog to describe this and recent drawings in a as simple as I can, procedure. enjoy. and if the reader would like the nude figure piece, it is FREE and first come first serve. just write a reply in the blog spot for the drawing to stake its claim. enjoy your friday whereever you exist!
another sketch made with no real intent, or purpose other than to draw. I enjoy writing as well, which is evident in many of my art works so I had some fun with that as well. When actually trying to express an idea/feeling with intent, I tend to get more obsessed with the writing aspect. There have been times where I put more time into developing the writing to incorporate into the painting. There is no real story to this drawing, though it may suggest there is one. I created the figure first just going where the pen takes me, ending up with a pile of heads in the surroundings. The text was inspired by my morning walk in the city. If you happen to want this piece, i'm giving it away so please just leave a comment that you desire it and we will work it out from there. First come, first served, and please don't respond if you have already accepted a piece in the past. sketch, 8.5x 5.5, pen on paper.
Having finished another semester of teaching, it always involves taking a break from it all immediately after. The itch to create is always there however, so I've been doodling here and there. Usually at a cafe with a coffee or on the bed while watching some movie. Though just simple sketches, I can't help but contimplate/appreciate the process of drawing. In how it is technical ability that involves several concepts that involve translation of ideas, seen objects, etc onto a surface (paper). And how there is the intuitive side as well, where feeling is involved and how drawing essentially as I see it, is the combination of the two. One person's drawing is purely technical (realism), where another is more feeling which takes a representational drawing away from the real, at least if the drawing is of a representational nature to begin with. Nonetheless, i gain a deeper appreciation for the art of it itself with each drawing completed. And anyone who draws, i'm sure can appreciate the treasure of this practice. Always the love...